Hollywood Studio Magazine (May - June 1968)

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Fleischer predicts audience's will like multi-image movies under a cloud of suspicion and fear. Boy friends, husbands, friends, all became suspects. The wave of murder and panic finally ended with the selfconfession of Albert DeSalvo to Assistant Attorney General John Bottomly in September, 1965. Since that time the horrible case of DeSalvo and his career as a murder-rapist has made crime history. Now for the first time the life of DeSalvo has been made into a movie starring Tony Curtis, as Albert DeSalvo; Henry Fonda as Bot¬ tomly; and George Kennedy under the direction of Richard Fleischer. Like the heinous career of DeSalvo, the film of his life will not be ordinary. Borrowing an idea he saw behind the Iron Curtain six years ago, Fleischer is using the multi-image presentation technique for the first time in a commercial motion picture. Called “The Boston Strangler,” Fleischer’s film might become a fore runner of similar productions in the future. Fl eischer was introduced to the multi -image technique in 1962, at a screening of “Lanterna Magicka” in Prague, Czec- hoslavakia. While intrigued by it, Fleischer saw no practical application for it until he read the script for “The Boston Strangler.” He immediately decided this was a chance to use multi-image projec¬ tion as an important tool. Instead of simply using the multi¬ image method as a gimmick, Fleischer saw a strong purpose in adopting it. “The crimes are already committed when the police move in with their investigations,” Fleischer explained recently. “We have one violent rape scene between Tony Curtis (who plays DeSalvo in the movie) and a girl (Sally Kellerman), but he doesn’t kill her.” “Since no stranglings take place in the picture, the drama is captured in the terror and panic of the women of Boston —their attempts to buy protection with the installation of extra locks on their doors, purchasing large dogs, buying locks, weapons, guns, stilletos and such.” The medium of multi-image projection is perfect to show the simultaneous reaction of an entire city. The suspects arrested for questioning, and the thousands of women with individual apprehensions are portrayed visually with the multi-screen effect. “For this reason,” Fleischer con¬ tinued, “you can show the audience three, four, five, and sometimes even ten or twelve pictures at once and they will grasp that all the action depicted in these Continued on Page 11 SEEKS VICTIM— Tony Curtis, starring as self-confessed strangler Albert DeSalvo, rings woman's apartment in 20th Century-Fox's "The Boston Strangler” directed by Richard Fleischer with as he searches for possible victim. Film, Robert Fryer producer, stars Curtis, Henry Fonda and George Kennedy. 5